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The concept of Original Artistic Intent is difficult to apply to Tibetan thangkas. Thangkas are composite objects produced by painters and tailors with differing intents, skills and training. Iconographic specifications, regional and doctrinal differences in style, changes in form from harsh treatment and altered mountings all complicate the issue. 2008
2023 •
A portrait is an image created in imitation of something, and it is always deeply related to human emotions and aspirations. Tibetan thangkas, the subject of this paper, are not only representations of the Buddha and deities of theTibetan Buddhist and Bön religion but also can be viewed as a kind of portrait that evokes the emotions and aspirations of their creators and worshippers. This paper examines how the relationship between human and portrait, subject and object, is disturbed through anthropological descriptions of cases of thangka creation and worship. Thangka-making is characterised by the following three features: (i) the quantitative rules determine the religious authenticity of the thangka, (ii) the non-quantitative rules (referred to in this paper as the 'imponderabilia part', play a significant role in the aesthetic quality of the thangka, and (iii) the use of bodily substances is related to both the religious and aesthetic quality of thangkas. In previous studies on thangkas, (i) has been considered important, but consideration of (ii) and (iii) has been insufficient. This paper focuses on (ii) the 'imponderabilia part' of thangka-making and (iii) the painters' use of bodily substances. It then argues for the 'corpothetics' of the thangka, considering that the appeal of the thangka, or the emergence of the thangka's agency, lies not merely in its religious meaning or visual beauty but in its creator's attempt to fulfil his or her desire to unify with the thangka. Furthermore, the second half of the paper presents examples of the commissioning and use of thangkas to show that the 'transformation' between humans and thangkas is two-way. A person who creates a portrait is constantly enchanted by the portrait and then become a creator. The creator and the portrait, the person and object, are in an endlessly reflective relationship, like mirrored surfaces placed face to face.
Thangkas are intricate paintings of Buddha, Buddhist deities or mandalas that have existed as an art form since ancient times in Tibetan Buddhism. This study follows the research paradigm of case study to understand the role and significance of Thangka paintingas perceived by Thangka painters of Darjeeling, India. There were 2 male participants in this study. Both of the participants practiced Buddhism and had 30-40 years of Thangka painting experience. They had learnt the art from masters of the craft themselves. Looking at the life history of the artists, it was revealed that a calm temperament was impertinent when making a Thangka. Religious knowledge and a feeling of goodwill was also found to be necessary to make a Thangka. It was revealed that Thangka painting was a therapeutic process for the artists as they found peace when working on their craft. They also reported being less aggressive and being happier in their lives because of the art. There was also a need to maintain high levels of patience and concentration when making a Thangka that promoted the feeling of calmness in the artists.
Material Religion The Journal of Objects, Art and Belief
Manufacturing "Self" through the Divine-Thangka Paintings of Tibet2020 •
ABSTRACT: This project investigates the materials and techniques used by Tibetan artists. Six Tibetan thangkas were analyzed by infrared reflectography, energy dispersive x-ray fluorescence, Fourier transform infrared microspectroscopy, Raman spectroscopy, scanning electron microscopy-energy dispersive spectroscopy, and high-performance liquid chroma-tography. The analysis has suggested that three thangkas of the eighteenth - nineteenth century have a traditional palette, which includes azurite, vermilion, orpiment, bronchantite, red lead, dolomite, magnesite, organic red with calcite or magnesite substrate, and alumino-silicate clay minerals. Another late nineteenth or early twentieth century thangka shows the use of Western pigments such as emerald green, ultramarine, calcite, gypsum, chrome yellow, gold color from brass powder, and red and yellow dyes with barium sulfate substrates. Two twentieth century thangkas made for the tourist trade revealed a twentieth century palette such as titanium dioxide, phthalocyanine blue, phthalocyanine green, and other pigments such as red lead, chrome yellow, barium sulfate, and gypsum.
1989 •
Reply to Hugh Downs's review. Himalayan Research Bulletin, vol. 9-3 (1989), pp. 16-18.
International Journal of Multidisciplinary Research , IJMER:ISSN : 2277-7881:VOLUME 7, ISSUE 2(4), FEBRUARY 2018
BUDDHA AND BUDDHISMAS THESUBJECT MATTER IN THANGKA PAINTINGS: A STUDY TO UNDERSTAND THE DEVELOPMENT OF THANGKA PAINTINGS IN NORTH HIMALAYAN REGIONS: IJMER:ISSN : 2277-7881:VOLUME 7, ISSUE 2(4), FEBRUARY 20182018 •
The research paper depicts the study for understanding origin and development of Art and Craft in region across North Asia with the influence of Buddhism. North Himalayan region has spread across Nepal, Bhutan, Tibet and Northern areas of India. This entire region has given a base for the development and spread of Buddhism. Thangka paintings has been the major source, for making a connection between the deities and understanding the true reason of birth and death through the teachings of Buddhism. The research paper is focused to find and present the divisions of paintings on the basis of Buddhism teachings as the subject matter of paintings. The study is devoted to present the progression of the subject matter of paintings to present the reasons for the birth of Buddha, his progression for movement on the path of enlightenment, essence of human birth, right way to live life in order to meet a state of nirvana as final purpose of life. The paper also puts light on various other methods developed for the spread of Buddhism and the process, these paintings has received varied forms under the influence of the region, the artist making them and has given these paintings recognition as major art work of the area.
2016 •
This article is an examination of three 18th-19th century Tibetan thangka paintings in the Chazen Museum collection through the lens of a Tibetan soteriological-aesthetic-ritual category “sku rten” or “bodily support.” Herein, I argue that viewing the thangkas as sku rten allows us to understand how Tibetan Buddhists construct not just “sight” or seeing but also (drawing on work on religion and visual culture by David Morgan) “vision,” a category of perception that includes consideration of the power structures and relationships in which religious art is embedded. As sku rten, the paintings not only serve as meditational tools for religious viewers to learn to envision or embody deities and ultimately non-dualism, they also model for viewers how to transform themselves into sku rten or bodily support for achieving these soteriological aims. I examine the three successive levels of sku rten and accompanying texts (sadhana) and rituals through reference to the three paintings: analyzing their imagery, consecration inscriptions and other historical evidence and suggesting how they may have been used and viewed by practitioners. The larger theoretical point of the thesis is to argue for understanding these Tibetan sku rten practices as a “soteriology of the senses,” joining with Robert Orsi’s contentions about religion as embedded in networks of relationships and the body.
2009 •
This project investigates the materials and techniques used by Tibetan artists. Six Tibetan thangkas were analyzed by infrared reflectography, energy dispersive x-ray fluorescence, Fourier transform infrared microspectroscopy, Raman spectroscopy, scanning electron microscopy-energy dispersive spectroscopy, and high-performance liquid chromatography. The analysis has suggested that three thangkas of the eighteenth-nineteenth century have a traditional palette, which includes azurite, vermilion, orpiment, bronchantite, red lead, dolomite, magnesite, organic red with calcite or magnesite substrate, and alumino-silicate clay minerals. Another late nineteenth or early twentieth century thangka shows the use of Western pigments such as emerald green, ultramarine, calcite, gypsum, chrome yellow, gold color from brass powder, and red and yellow dyes with barium sulfate substrates. Two twentieth century thangkas made for the tourist trade revealed a twentieth century palette such as titanium dioxide, phthalocyanine blue, phthalocyanine green, and other pigments such as red lead, chrome yellow, barium sulfate, and gypsum.
Religion Compass 9 (2015): 203-215
Divine Presence in Ancient Near Eastern TemplesZa wytworną fasadą: kulisy funkcjonowania rezydencji arystokratycznych: materiały z konferencji naukowej z okazji 70-lecia Muzeum Zamkowego w Pszczynie, Pszczyna, 12-13 maja 2016
Zamek wodzisławski i jego gospodarcze zaplecze2018 •
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